Reading Accentual Prosody in Japanese Shakespeare Translation
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In translation theory since the 1960s, the ideal of equivalence between a translation and its source is generally help to be illusory, although a translation can still be seen to imitate the rhetoric of its source (directional equivalence) and its acceptability is determined by the norms of its target culture. The difference between Shakespearean verse, which is based on the distribution of stressed syllables, and the prosody of spoken Japanese, which is unstressed and relies instead on the rise and fall of pitch across phrases (pitch accent), is a case in point of the impossibility of creating an ideal Shakespeare translation, especially when one considers the importance of meter to Shakespeare’s rhetorical technique. This paper looks at the distribution of accents in two translations by OdashimaYūshi (1975) and Matsuoka Kazuko (1997) of Theseus’ opening speech in A Midsummer Night’s Dream. Although quite different from the metrical templates of Shakespearean verse, accentual prosody clearly contributes to the line’s distinctive shape in Japanese translation, and may even be used to emphasize lexical items. This accentual reading is offered as an alternative to the conventional seven-five syllabic meter of traditional Japanese drama, which is used only sparingly in most modern translations.
Abstract
In translation theory since the 1960s, the ideal of equivalence between a translation and its source is generally help to be illusory, although a translation can still be seen to imitate the rhetoric of its source (directional equivalence) and its acceptability is determined by the norms of its target culture. The difference between Shakespearean verse, which is based on the distribution of stressed syllables, and the prosody of spoken Japanese, which is unstressed and relies instead on the rise and fall of pitch across phrases (pitch accent), is a case in point of the impossibility of creating an ideal Shakespeare translation, especially when one considers the importance of meter to Shakespeare’s rhetorical technique. This paper looks at the distribution of accents in two translations by OdashimaYūshi (1975) and Matsuoka Kazuko (1997) of Theseus’ opening speech in A Midsummer Night’s Dream. Although quite different from the metrical templates of Shakespearean verse, accentual prosody clearly contributes to the line’s distinctive shape in Japanese translation, and may even be used to emphasize lexical items. This accentual reading is offered as an alternative to the conventional seven-five syllabic meter of traditional Japanese drama, which is used only sparingly in most modern translations.
참고문헌 (14)
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